Entertainment :: Movies
Peter Pizzi on ’Sucker’by Kilian MelloyMonday May 12, 2008 Peter Pizzi, a Boston-area filmmaker and photographer, presents his short film Sucker at the 24th Annual Boston Gay and Lesbian Film/Video Festival on May 15 at Boston’s Museum of Fine Arts.
Pizzi is also the head of his own production company Magic Club Productions, and has seen his work appear at galleries and film festivals throughout the U.S. (A preview of Sucker is available at the production company’s Web site.)
Sucker centers around Moe (Craig Houk), who narrates his history as "the best cock sucker in town." Moe says he’s not bragging: his claim is simply a statement of fact, and he’s got the eager online stable of "buddies" to prove it.
But having a number of hot guys ready to show up at your door, and on your sofa, at an e-mail’s notice isn’t enough, and gradually Moe begins to forge a deeper connection with his most reliable, and most appreciative, buddy, a taciturn 40-ish man whose rough exterior might, Moe hopes, conceal a softer side.
EDGE did some online chatting, too: in this case, with filmmaker Peter Pizzi, who shared the story about how and why he made the film.
EDGE: The story of Sucker is of Moe, who loves to service men orally (but who doesn’t get off on getting off himself). What is the story behind the story of Sucker? How did you develop the story and the character of Moe?
Peter Pizzi: It’s my film, but not my story...
The film is based on the short story of the same name written by the novelist, Wayne Hoffman. I had read the short story last summer, I thought it was great and then tracked Wayne down online. I pitched the idea for a film, and voila.
The written story is told via third person and I thought after reading it [that it] could easily lend itself to the way I tell stories visually. I also liked that the story seemed to simplify sex & sexuality, no complications.
Wayne also wrote the script for the film. I had the format of the story, the novel and the script to draw from in planning the film.
EDGE: The sex in the movie is simulated. Why is that? In mainstream movies, authentic sex has started to appear: Michael Winterbottom’s Nine Songs is one example, and Shortbus is another. Is authentic sex difficult to film well?
Peter Pizzi: Who said it was all simulated...?
Well, truth be told I had a hard time casting for this film and I have had a hard time in doing so with my previous film work.
I think actors/non-actors for the most part still shy away from overt roles portraying sexuality, especially gay roles. I did have 2 actors tell me that the film, due to the content was not for them.
One editor didn’t want to work on the piece. A local (big) casting company in Boston told me they didn’t think my work was a fit for their clientele. Trust me, I wasn’t making the modern version of, Deep Throat. The film is funny & silly and even sweet. It would most likely be rated R.
I loved Shortbus. But, I don’t agree that "real" sex is cropping up in mainstream films or will any time soon. I don’t have a problem with it. However, first let’s bring on more dick shots. It’s still taboo for a man to be naked on the screen.
Filming all the simulated sex scenes was challenging, because we want it to look real and sexy and/or funny, ultimately entertaining. I was trying to create and balance the scene with nudity and no nudity for authenticity.
EDGE: You found some of the actors for Sucker through a site called Bear411.com. Where else did you look?
Peter Pizzi: Everywhere I could... I posted and put the word out to all the film/acting sites in the New England area and New York City.
It was fun to pitch the prospect to guys I spoke with online who were either actors, or have had some acting experience; even wannabes. I wasn’t looking for the clean-cut & skinny types, so I had to draw from the real world.
EDGE: How does a director go about auditioning actors for roles like Moe, played by Craig Houk?
Peter Pizzi: Have lollipops on hand?
Seriously, I found Craig via a call for actors. I sent out an email to my list and a friend forwarded the call the Craig. I sent him the script & story first. Once we crossed that hurdle, I told him there would be a few naked men around him and he would likely be in a few compromising positions... Again, [he gave me a] green light, then we met a few times. Clearly he had the talent and the look for the role.
We did do a photo shoot to plan for the sucking scenes. I did this before the film shoot in planning the shoot list, for believability.
Craig was great to work with and, I say endearingly, a trooper.
Craig actually did use a lollipop to record the sucking noises, it worked.
EDGE: Issues of sexuality and identity inform your various artistic endeavors, and that comes across in Sucker. How do you approach other media, such as still photography, with those same issues in mind?
Peter Pizzi: Well, while these issues do influence my work, they do not limit it; not everything I create is within those contexts. But, yes, sex is one of the most essential parts of being human and therefore it enters into all that we do, even subconsciously.
In approaching sexuality in any of my work, I usually inject humor. I also usually portray what is familiar to me, or a concept/issue I would like to familiarize myself with. I always attempt to portray something creativity but, hopefully, simply too.
Sex and sexuality can be complex and huge (for me) and in working with these themes I have a mastery over them--or at least I think I do...
EDGE: What other films and projects in various media would you like to undertake, if you could work without having to worry about funding?
Peter Pizzi: A feature film!
Peter Pizzi will present his short film Sucker as part of the 24th Annual Boston Gay and Lesbian Film/Video Festival at Boston’s Museum of Fine Arts. The screening will take place at 6:15 p.m. on Thursday, May 15. A sucker-themed after-party will take place at 9:00 p.m. at the Alley Bar, 14 Pi Alley, in Boston.
The film’s cast will be in attendance.
Kilian Melloy reviews media, conducts interviews, and writes commentary for EDGEBoston, where he also serves as Assistant Arts Editor.
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